"I am a cinematographer...oh, I am a cinematographer..."

"You know you're in trouble when someone says 'I'm going to be a 
cinematographer,' to you at a party."--my friend Tony, circa 1990, 
who now lives in Louisville, home of Palace songster Will Oldham, who 
wrote the lyric above. What goes around comes back up, usually at a 
bad time.


      Indie List Digest!

        August 26, 1994

     Volume 3   Number 49


In this thrill-packed episode:
Sean's life as a temp, or theory in reality...
Guitar Wolf, Ah club, Inbreds, et al.
Stereolab, Providence, Lollapalooza, et al.
Morphine, Orangutang
Breeders, Halo Benders, Pitchblende, Telegraph, etc.
Chill EB/dEUS/Fatima/Beaumont/Portishead reviews
Sunset Junction Street Festival
AD: Squealer Music
And no Gigolo Aunts

I'm so happy...We have a submission that actually uses one of my 
favorite phrases, 'and a melee ensued...' What's more, I actually 
have something to SAY here! I am going to be visiting Minneapolis 
briefly in mid-September, as my boss is taking me to a conference. I 
think we'll be staying somewhere near the U. of Minn. campus. If any 
of you can point out things worth doing, 
music/book/culture/food-wise, within walking distance, I would be 
much obliged. Send mail to me at azender@indiana.edu and I will tell 
people you're swell, free of charge.--az


From: Sean Murphy <grumpy@access3.digex.net>
Life as a temp, or the horror of shopping at Go Discs...

So, I'm now living in the metro-DC area, home of the now-famous Go 
Discs in Arlington (wow! an indie record store in Arlington! Now we 
don't have to schlep across DC to go to Vinyl Ink!).  Judging from 
recent pickups there, I may be more than happy to "schlep across DC" 
to find a record store dealing in more than pop music...  but more 
commentary after these scattered reviews:

Burning The Midnight Sun (v/a, Uniton Records - Norway)

Another psychotic early '80s comp - this one primarily synth and 
instrumental, but evoking good things like Brian Eno, not shitty 
things like ELO.  I grabbed it because it was 99 cents and it had an 
Eyeless in Gaza song ("To Ellen" - instrumental, unfortunately, but 
quite good), but was very pleasantly surprised.  Popol Vuh was the 
only other band I had heard of, but all of side 2 is excellent 
experimental synth work - side one has the vocal selections and 
they're not bad either.  The comp was intended as a sampler of things 
on the Uniton label - I might just have to spring for a few of these 
if they come up as cheaply as this...  _Tim Story_ and _De Press_ are 
other favorite bands on the comp.  **

Seeds V - Electric (v/a, Cherry Red)

From the 1988/89 Cherry Red revival, one in a series of comps looking 
at "great lost records from the period 1977 to 1984." Highlights on 
the comp are Eyeless In Gaza's "Kodak Ghosts Run Amok" (the a-side to 
their first single), Die Doraus und die Marinas' "Fred Vom Jupiter" 
(wacky German pop-oddness), and the Gynaecologists' "The Red Pullover" 
(starts out as a perfect companion to "The Gift" and a couple odd 
Bauhaus songs, but unfortunately degenerates).  MAJOR MINUS POINTS for 
including the lone clunker on "Pillows and Prayers" (the famous 1982 
Cherry Red comp), "XOYO" by The Passage.  I'd like to try out some of 
the other "Seeds" comps (subtitled: Rock, Pop, Art, and Punk), but 
this one left me a little flat (Thomas Dolby is NOT an important 
figure in "electric" music).  **1/2, would have been * had they not 
included XOYO.

Buzzcocks, "Are Everything" 12" (IRS)

Recorded near the original break-up, after "A Different Kind Of 
Tension," and showing definite tension among the band members, this EP 
is still a killer example of why this band is important (and it's NOT 
because Green Day wants to be just like them and the Dickies crushed 
in a blender).  I prefer the Steve Diggle side, with the classics "Why 
She's A Girl From The Chainstore" and "Airwaves Dream," but the Pete 
Shelley side isn't far behind.  Nothing here as fulfilling as "I 
Believe" or "Everybody's Happy Nowadays" or "Why Can't I Touch It" but 
a fine EP (and a rarity to boot).  *3/4

Side notes: I recently remembered that the Buzzcocks had to have been 
the horniest punk band out there.  It didn't hit me after repeated 
listens to "Singles Going Steady," but from one listen to "You Say You 
Can't Help It" brought it all back to me...

For an interesting comparison piece, listen to Magazine's "Shot By 
Both Sides" and Buzzcocks' "Lipstick" back to back someday - same 
exact riff (both essentially written by Shelley, since Howard Devoto 
started out in the Buzzcocks), but radically different treatments 

Orange Juice, "In A Nutshell" (Polydor)

As the title implies, a sampler of Orange Juice's material recorded 
for the Polydor label, including lots of the songs which had earlier 
appeared on various collector-scum Postcard records.  The recordings 
are better produced than those on "The Heather's On Fire" (the more 
recent Postcard LP compiling all the early OJ singles/flexis/etc.), 
but the Postcard versions are more compelling in their rawness.  
Still, any opportunity to hear "Felicity" is a good one.  *1/2

Alles Ist Gut! (v/a, Farrago)

A compilation single that came out last summer from Houston, TX.  The 
big winner here is Buddha on the Moon, with a great song called "On 
The Beach" which has NOTHING to do with Neil Young but tons to do with 
Galaxie 500 and the burgeoning "slow-rock" movement.  Quite enjoyable 
sampler of things to come from this label (note that there is now a CD 
from Dyn@mutt and a 7" from Buddha..., both on Farrago - P.O.  Box 
130148, Houston, TX 77219 - and if anyone knows where I can get in 
touch with HK nowadays, drop me a line...).  **

Tar - Teetering 7" (Touch & Go)

This came out last fall/winter, and it features a straightforward, 
enjoyable Tar song on the a-side, with a really sludgy cover of "The 
In Crowd" (made famous by Ramsey Lewis in the mid-60s) on the flip.  
The sleeve is one continuous name-drop/thank-you list.  (For those who 
haven't heard Tar - think "Chicago Rock Band" and you'll be pretty 
close...) *1/2, not as choice as -

Tar - Solution 8 7" (AmRep/Glitterhouse)

The A-side is again typical decent Tar material, but the b-side is the 
true keeper - an insane, inspirational cover of Pere Ubu's 
"Non-Alignment Pact" which is why I splurged and spent $6 to get this.  
"Edie Brickell and Charo, Cher and Marilyn McCoo, Kristy McNichols and 
Brooke Shields, it's all because of you..." Some may call it 
desecration, I call it genius.  **1/2

Please note that all of the above items (except the second Tar 7") 
were purchased for $3.00 or less at Go Discs in Arlington, VA.  This 
same store had the audacity to put "Daisy Chain Reaction" by the 
Poster Children in their 99 cent CD pile.  For these reasons, I'm torn 
- I like going to stores which are so dumb that they can't price 
records properly, but at this level, it becomes extremely insulting to 
the bands...  Go! seems to have aspired to be the ultimate "indie-pop 
record store" and I think they've succeeded - they have almost no 
inkling of the worlds of music that I consider independent and worthy 
of hearing - and I'm not expecting them to stock singles on the Bad 
Vugum label from Finland or to have copies of the _TMI 015_ 
compilation (F-Models, Tripod Jimmie, lots of oddball Pittsburgh bands 
from 1982) still shrinkwrapped (that's what Orpheus over in Georgetown 
is for) , but the occasional Siltbreeze recording might be nice...

So yeah, temping in DC is a real blast.  If I didn't already have some 
exposure to socialist theory (like 4 years of college taking a slew of 
political theory classes), it might just convince me to write a new 
and improved "Communist Manifesto." I must confess that I feel quite 
alienated from my labor (and we won't discuss the mark-up the temp 
agency puts on my hourly rate...  yikes!), while earning just enough 
to pay my rent, get some food, and maybe look into a record store 

One more review - 

Ui - Two-sided EP (Hemiola)

First time I listened to this, I tried it at 33.  Except for some 
really low bass notes, I liked it.  Then I got to the vocal song and 
realized "oops, this is supposed to be 45" and promptly began 
listening again.  I told Wilbo (the bass player on this record) this 
story, and he just nodded and thought it was funny but sorta cool.  
Jazz-meets-funk-meets-the-avant and it's really not as horrifying as 
that label implies - I like it very much.  There's a slowish song with 
strong dynamic shifts at one point (that's the one with noticable 
vocals), and a lot of funky bass parts with odd noodling guitars 
neatly placed in.  Not for everyone, but for the more adventurous, I'd 
recommend a good listen.  *3/4

Thanks for bothering to read along...

Sean Murphy
occasionally friendly subscription slave



From: madnbut@vt.edu (Mad and Butch)
Guitar Wolf, Ah club, Inbreds, et al.

Lots of "little" reviews:

Guitar Wolf-WOLF ROCK LP (Goner Records, PO Box 40566, Memphis TN 

Completly over-the-friggin-top rockabilly, with a bizarre ambience to 
the recording that causes the listener to assume that they're in some 
sort of drugged haze.  Guitar Wolf are a Japanese trio who straddle 
the thin line between tribute and parody, and I don't think they even 
know which side they're on.  Brings to rockabilly the same sort of 
inscrutable madness that the Boredoms bring to "noise" and is a whole 
hell of a lot of fun to boot.  I think this was put out by the same 
people who put out the WIPE OUT zine (a very cool zine for those into 
rockabilly, surf and other kinds of rnr that's true to its roots).  If 
you get the chance to see these guys live, GO GO GO!

The Ah Club-Squeeze My Cares Away cassette (Shrimper PO Box 1837 
Upland, CA 91785-1837)

This is a Shrimper release from late last year, but it's so achingly 
beautiful that I've got to mention it.  The Ah Club are the duo of 
Aubrey and Carol, and they use a unique musical approach in their 
songs of "love".  Most of the songs start with tape loops appropriated 
from a variety of sources, mostly hip-hop records, and then overlaid 
with guitar, vocals and a variety of other noises.  The songs still 
remain songs, however, with the most important factor being Carol's 
vocals, which manage to sound pretty vulnerable and hurt through all 
the musical bravado.  There is an almost a voyeuristic sensation of 
dominance/submission implied in the songs, as the vocals are innocent 
and fragile, while seeming pained at the same time.  It's striking, 
the juxtaposition of her vocals over an imaginative soundscape.  
Highly recommended.

The Inbreds-Hilario CD (PF Records Box 21003 Kingston, Ontario, 
Canada K7L 1CO)

A subtle charmer from an interesting Canadian duo of bass and drums 
(yep, that's it).  It wasn't until the fifth time that I listened to 
this that I realized it was only bass and drums backing the tuneful, 
power-poppish tunes.  This CD collects stuff from a bunch of different 
7" singles, and sessions recorded in "real" studios and at home on 4 
tracks (hard to tell the difference really).  The Inbreds have great 
vocal harmonies, and can write some excellent tunes in a K-ish kind of 
way, though a little more straight ahead than that.  The sound can be 
kind of thin at times (mostly the drums, which could use a little 
beefing up), though I give them points for their interesting 
instrumental approach, and on some songs, it's really a plus.  Still 
developing, but worth seeking out.

Will Simmons/George Willard split 7" (Nut Music PO Box 5033 Herndon, 
VA 22070)

Will has something on the Shrimper Abridged Perversions CD, and that 
gives you a general idea where both of these guys are coming from.  
Will is more bittersweet, with 4 short songs mostly featuring his 
gently rocking electric guitar and Fender twin.  George leans more 
towards introspection, in an almost folky way, but both of them throw 
in numerous musical loops to prevent this from just being "lo-fi" (a 
rocking coda to Will's "Hey You", sounding like Pavement, and George's 
mock hardcore "Glue Song").  It's obviously a labor of love, and it 
comes across in spades, from the hand-done covers (rip offs of various 
older singles and found photos) to the collaborative music found 

Friendly-Record 1 7" (no address, but email Mark Cornick for more 

Kind of like Poi Dog Pondering on codeine and inhalants.  Lovely 
little pop tunes mucked up with all sorts of interesting 
instrumentation (burbling keyboards, melodica?).  Mostly chirpy and 
happy, the various approaches really make this interesting, and 
"Mariana" plays on my mind radio most of the time.  My copy came 
wrapped in a sewn up dish towel.  All singles should sound this 

Ralph Wiley


From: ST000414@BROWNVM.brown.edu "Aaron Schatz"  
Stereolab, Providence, Lollapalooza, et al.

[ed. note: This got stuck on a widget in the I-L-Edit hopper for a 
while, so some of the info is dated.  But some, as you may see, is 
not. -es]

Most of these random thoughts are only a couple of lines, but here 
There've been some changes here on the Providence music scene.  First 
of all Jud Ehrbar apparently has left Scarce to work in a day job on 
Long Island.  I was pretty shocked - they're auditioning new drummers 
before they play the Reading Festival and then record their first A&M 
album.  The Laurels also have a new drummer.  Ethereal rockers Lovebox 
have moved to the Netherlands.  Boss Fuel and Lazy Eye both broke up.  
Small Factory's Vernon Yard album is coming out soon.
The new Stereolab single, "Ping Pong," sounds very 1976, and I don't 
mean punk 1976.  The album is out Tuesday.  The new Sugar single "Your 
Favorite Thing" is great as usual.  It has an intereting rhythmic 
scheme where it adds a couple of measures into the usual chord 
progression every couple of times around.  The album "File Under Easy 
Listening" is out September 13th.
I went to Lollapalooza.  Many people with many piercings.  Wierd.  
Also too long.  I found the Beastie Boys disappointing, but this may 
have been because they played second to last and I was really tired.  
When they start jamming and let DJ Hurricane rap, it sucks.  Tribe 
Called Quest rocked.  I know most of you don't like them, but Smashing 
Pumpkins put on an incredible show.  L7 was stuck in traffic and only 
played one song, which did not upset me.  I don't understand why 
everyone thinks the Boredoms are so wonderful - please explain this to 
me.  On the second stage, I like Palace Songs.  I didn't really get 
into Girls Against Boys.  I'm very sorry Shudder to Think, the 
Pharcyde, and Fu-Schnickens didn't play the Providence date.
I met one guy who paid his way in to Lollapalooza at the ticket window 
with change - nickels, dimes, and quarters.  No pennies though.
New Neil Young album August 16th, with Crazy Horse, called "Sleeps 
with Angels" dedicated to (ugh) Kurt Cobain.  Sometimes you just have 
to close your eyes and blindly trust that Neil isn't gonna get too 
goofy on you.
I like the new Magnapop single, produced by Bob Mould.
While I was in California I got 3 CDs for 5 bucks at a place called 
Moby Disc in Westminster.  Small 23 is a Velvet Crush/Gigolo Aunts 
style band on alias records.  I'd give their LP "True Zero Hook" a 
good * 1/2.  I got the third album by Canada's Pursuit of Happiness 
- you might remember their song "I'm An Adult Now." I wonder why 
nobody likes them - it's pretty solid, albeit commercial sounding, 
rock with funny indie-loser style lyrics and cool female harmonies.  I 
also got Christmas - the band that became Combustible Edison.  I can't 
decide if I like it yet - it's really wierd.
That's it from here.
Aaron Schatz                             "The one problem with 
Zeta Delta Xi                             is that you can't grow
Brown University                          potatoes in it."
(401) 521-2513                                    - Justin Blumenstiel
P.O. Box 3994, Providence, RI  02912


From: "Steve Baragona" <baragona@ariad.com>
Morphine, Orangutang

I saw Morphine downstairs at the Middle East in Cambridge, MA on 
Thursday (8/18).  Morphine's a really novel band: a three-piece 
consisting of Mark Sandman on vocals and two-string slide bass, Dana 
Coley on sax, and Billy Conway on drums.  No guitars.  They put on a 
good, solid, rock show: good sound, good crowd-interaction, good 
performance.  Just an overall really great show.  But somehow there 
just wasn't anything to write about.  It's not that I didn't like 
it--I did, I loved it.  I'd definitely recommend them highly.  But 
there isn't really anything more to say.

I wondered if it was a bad sign that I had nothing to say about 
Morphine, but then I saw Mother Tongue opening for Orangutang at Local 
186 on Friday night (8/19).  Sometimes it's good just to put on a good 
show that speaks for itself.  Mother Tongue were so bad, on so many 
different levels, that it really made me appreciate the Morphine show.  
Mother Tongue is from LA, and I think that goes a long way toward 
explaining them.  Their performance was like a who's who in LA rock in 
the last 5 years or so: I recognized moves and poses ripped off from 
Flea, Perry Farrel, Weiland, and Les Claypool (not from LA, I know, 
but you get the picture.).  Terrible vocal cliches.  They took 
themselves way too seriously.  And the songs themselves were just 
really bad.  At least the show was good for a laugh here and there: 
the guitar player, in jumping around and off the stage, unplugged 
himself several times.  The bass player/singer accidentally smashed a 
bottle against his bass while playing slide with it, and tried to be 
subtle about checking his hand for blood.  Except for the people they 
had brought with them or paid to cheer, the crowd pretty much ignored 
them.  Towards the end of the set the bass player/singer yelled "Wake 
up! Wake the fuck up!" and I was thinking "Stop sucking!" It always 
bothers me when a band that's bombing thinks it's the crowd's fault.  
It's their responsibility to get us interested.  If we aren't, it's 
because they've failed.  And yelling at us isn't going to make us like 
them any more.

Anyway, Orangutang came on and rocked.  I hope Mother Tongue stuck 
around for the show.  They could really learn a few things.  I'm not 
usually a front-of-the-stage kind of guy, but my friend and I wandered 
up there pretty much without realizing it and it was great.  It was 
the first time in a while I've been in danger of getting whacked in 
the head with a guitar.  The long-haired guitar player (don't know 
names, sorry) was all over the place.  The singer/guitar player gets 
this look on his face sometimes when he sings, his eyes are wide open 
and pointing off to the side, it makes him look like he's spotted 
something out there that he's about to jump on any second.  One 
highlight for me was the point in one song where the melody had 
decayed into chaos, one guitar played is dragging the claw end of a 
hammer up and down the strings, and the other is on the floor playing 
his flange pedal.  Awesome stuff.

And they did Chucklebucket Act II.  This time the theme music was 
Bonnie Tyler's "Total Eclipse of the Heart," and the story was of a 
man torn between two women: an angel and a devil.  I really can't do 
this justice in words.  It's almost performance art, but that makes it 
sound serious.  It's totally a visual thing which you really must see, 
and doesn't sound funny until you see it.  The gist of it is, the 
andgel and devil compete for the man's attention; the devil, however, 
has the lease on his soul.  The angel aids him as he tries to escape, 
and a melee between the angel and the devil ensues.  The man tries to 
break up the fight, but finally gets sick of the whole thing, and in 
the production's climax gives them both the finger and they whither to 
the ground.  Having seen Act One I knew what to expect so it didn't 
reduce me to hysterics this time, but it was still very well-done and 
very funny.  Orangutang is playing this Saturday afternoon (8/27) at 
the Hatch Shell, and Chucklebucket will be doing Act III.  That'll be 
a really weird show: it's outside and free, so plenty of people show 
up who know nothing about what they do.  I can't wait to see the looks 
on their faces.  If you're in the Boston area, DO NOT MISS THIS.

By the way, did anyone see the article in National Lampoon around 
summer of '91 written by Bullet LaVolta's tour manager about their 
experiences on the road? Pretty funny stuff.

Time's fun when you're having flies.


From: Mark Cornick <mcornick@hopper.itc.virginia.edu>
Breeders, Halo Benders, Pitchblende, Telegraph, etc.

The zine that refused to die! Indie-List's weird aunt Telegraph has 
finally returned with a new issue, a new net presence, and a new 
attitude.  Telegraph 2 (Electric Boogaloo) features adventures in 
amateur concert promotion, Sean Murphy's controversial "slack in 
indie-rock" article, a total dis of Blast! and a record giveaway.  
Plus, as always, more(1).  Subscribers should already have it.  If you 
missed it, you've got a couple options:
* ftp://ftp.etext.org/pub/Zines/Telegraph/Telegraph-2.txt.gz
* http://hopper.itc.virginia.edu/~mcornick/tg/current
* mail: No automatic mail service yet, so I'll mail it to you.
Subscribe so you don't miss the next one! Contact Sean -
grumpy@access.digex.net - to subscribe.

Now that that's over with, a couple brief record review type things:

- The Halo Benders, new LP with a title I forgot (K): Calvin Johnson's 
new side project.  Sounds remarkably like Beat Happening, but you'd 
probably guessed that.  Actually, the BH attitude and spirit are here 
but the musicianship is considerably better than most BH records.  
Still an infectiously good time, so if your main turn-off from Beat 
Happening was the amateurism, you should at least give this a listen.  
(And old-school K fans will dig this too.) **

- Breeders, "Head To Toe" (4AD/Elektra): New 7" with two forgettable 
a-sides, but check out the b-side: it's a cover of "The Freed Pig".  
Fairly straight cover too - aside from the Dealy vocals, this sounds 
nearly identical to Sebadoh's orginal.  (Perhaps they're trying to 
atone for that atrocious version of "Do You Love Me Now?" they did 
with J.Mascis a couple records back...) Fans only.  *

- Pitchblende, _Au Jus_ (Fistpuppet): Long-awaited second LP from DC's 
sonic craft-brewers.  As with the first one, there are about 12 actual 
songs and 12 or 13 tracks of noise filler between them (on the copy 
I've been playing on the radio, the track listing omitted all the 
filler bits, so you're never quite sure which track you're playing...  
creepy.) No huge surprises here - overall it sounds pretty much like 
_Kill Atom Smasher_.  (For the uninitiated, _Kill Atom Smasher_ sounds 
vaguely like a hybrid of Sonic Youth, Nation Of Ulysses, and 
ephedrine.) Those who appreciate the sculpting qualities of the 
effected guitar are advised to seek this out.  If not, this record 
might annoy you - it's quite noisy.  I say thumbs up.  **

bye now
(I'm awestruck that TG is now sharing an archive with Screams Of Abel.  
Wow, I remember killfiling SOA years ago when I actually used to read 
alt.music.alternative...  glad to see they're still spreading that 
Christian death-metal gospel...)

Mark Cornick - mcornick@hopper.itc.virginia.edu
I speak for myself only. Good thing, too.
"I hate quotations." - Ralph Waldo Emerson


From: "Curt Tsui" <CTSUI@acs.unt.edu>

I would like to know if anyone on this list could give me any info 
about a band called Ether.  I really know next to nothing about this 
group, and the only song I've heard of theirs is the cut on _Music 
>From the Films of Hal Hartley_ (entitled, I believe, "Rue Des Jours" 
or something along those lines).  I don't think (but I may be wrong 
here) that it's the Ether that includes Caroline Crawley and members 
of the Cure....

So would anyone who might possible know of an address at which I can 
contact them, or who might know of a discography of theirs please 
send it?  I would be most appreciative.

        From the fertile mind of Curt Tsui....who probably hates you!
                      "Supreme nothing....oh yeah!"    


From: James Nash <ccx020@cck.coventry.ac.uk>
Chill EB/dEUS/Fatima/Beaumont/Portishead reviews

These reviews arraigned in alphabetical order - I think.

Chill E.B. - Born Suspicious (Alternative Tentacles)

A mini-album from the politically-motivated Californian rapper.  '70s 
funk and some way groovy beats provide the backdrop for Chill's 
justifiably paranoid commentary on the racism, bigotry and censorship 
the black community is still suffering.  There are a couple of duffers 
here where he lets his ego get the better of him, "Welcome to Chill 
Town" is a yawn, but "Born Suspicious" and "Menace to Society" repay 
your faith as Chill gets inside the gangsta mentality and portrays it 
as a valid response to shit happening.  Most importantly, he never 
glorifies it, though he does seem to revel in it a little.  All this 
over some top notch hip-hop, as good as Gang Starr at times.  * 
(minus a half for the thanks list which takes longer to read than it 
does to listen to the bloody record!)

dEUS - SUdS & SOdA EP (Island)

They're from Belgium, they're on Island and they've been listening to 
just enough indie rock to try and produce something fresh out of the 
multitudinous strands we varyingly love.  Scything violins bump-start 
the tub-thumper of a title trick which is the kind of glorious racket 
Billy Corgan would give his right arm for.  Along the way, it finds 
time for some Doors-style keyboards, AC/DC power chords and megaphoned 
vocals.  (Look, I know it's not strictly relevant but isn't it bizarre 
that Brix (Smith) has re-joined The Fall? especially after being 
mentioned as a Hole fill-in? and it was reported that Mark E.  (Smith) 
has told support band singers to dye their hair because they remind 
him "of his ex-wife" Brix! ) Anywise...  two shorties - one 
Sugarcubes-y, the other a metal take on Man or Astroman?, - and 
"Secret Hell" complete the EP.  The latter is quite wonderful; a soft 
lament that barely bothers to take off after threatening you with the 
prospect of a heavenly and loud chorus.  It sounds like Seam and 
Pavement rehearsing together.  All that's missing is a bout of 
coughing in the bridge.

dEUS (note the capitalisation, folks) are on the same focused trip as 
Elevate and might even be better than them.  Album out soon so we 
shall see.  We certainly will if Island have anything to do with it.  

The Fatima Mansions - The Loyaliser EP (Radioactive)

Cathal Coughlan is back and still as mad as hell as ever.  "The 
Loyaliser" doesn't hang around, Cathal's distinctive melodic tone 
turning into Mr.  Angry for the chorus and being chased along by 
crazed guitar.  "Gary Numan's Porsche" reminds you how good 
Microdisney were whilst hiding its breakbeats under a dollop of 
grunge.  Unfortunately it all collapses into the predictable mess 
during "Arnie's Five".  Never mind, there's an excellent Juno Reactor 
remix of the lead track to round the CD off nicely and round the score 
up neatly.  *

Beaumont Hannont - Texturology LPx2 (GPR)

Good if not always gripping ambient techno.  Most of this genre passes 
me by as either boring or over-hyped trash; it's great if you want to 
sit around wasted all day, just be prepared for the let-down when you 
hear it straight.  So it would be a shame to miss out on the Nordic 
Mr.  Hannont.  He applies a rare quality control to EACH track which 
makes the whole record, and I use this word sparingly, haunting.  I 
could call this 'gothic techno', as parts remind me of Dead Can Dance 
or Japan (take away the drum and "Shades of Haze" could have come from 
"Oil On Canvas"), but I'm not a cruel man by nature.  A word of 
warning...  this LP may be available in different versions.  I'm 
reviewing the double vinyl one.  *1/2

Portishead - Sour Times EP (Go! Beat)

Take a slow funky beat, add a sly sense of melody and dub, some 
Tindersticks-style instrumentation and a soulful singer on top and you 
would expect a load of old rubbish.  Right? Wrong.  OK, they're on Go! 
records (remember The Housemartins!!) but they just happen to be 
making some of the most affecting and, I claim, innovative music 
around.  In fact, I'm off now to buy the album.  I think you should 
follow.  **1/2

--James Nash <ccx020@cov.ac.uk>
Why procrastinate today? Do it tommorrow.


From: David Gershwin <gershwin@hollywood.cinenet.net>
Sunset Junction Street Festival 8/20/94, L.A.'s Silver Lake District 
-- Lifter, The Leaving Trains, The Blasters  

The Silver Lake District of Los Angeles, nestled between Hollywood and 
downtown, is one of L.A.'s most ecelectic neighborhoods, and the 
annual Sunset Junction Street Festival is one of its crowning 
achievements -- with admission at $1.  Leather boys, gay/lesbian 
couples, hipsters, families, transvestites with names like Shawn 
DeLier, punkers, and everyone else in between have the opportunity to 
walk eight blocks of Sunset Blvd.  closed to traffic and eat great 
food (like Jamaican Jerk Chicken) visit a wide variety information 
booths (Communist Party USA, Act-Up LA) and hear great music, all in 
an atmosphere that is amazingly friendly.  I even asked a couple of 
the L.A.P.D.'s finest if I could borrow a pen -- and by golly, they 
each held out writing instruments for me to choose from.  Echo Park 
tough-kids fired up big fatties mere inches away from grinning 
festival security guards .  .  .

Two stages running all day Saturday and Sunday gave one plenty of 
music to feast upon.  I started off with current L.A.  club-scene 
princes Lifter, a power trio who has a knack for great riffs that 
sound hauntingly familiar -- sort of like when you heard the Pixies 
for the first time.  The lead singer's raspy, emotion-laden vocals 
started reminding me of the late, great you-know-who.

L.A.  vets The Leaving Trains, with lead singer/SST Superstore 
employee Falling James in drag, won my "best shitty bar band in the 
world" award for the festival -- and had me banging my head for the 
first time in months.  "sick-n-tired" list has been covering them 
lately more than Hard Copy covers O.J.'s legal problems.  And that's 
fine by me.

Finally, rockabilly/cowpunk/roots pioneers the Blasters (with alumni 
ranging from Steve Berlin of Los Lobos to Phil's brother Dave, ex-X 
and now solo artist who gets covered by Marshall Crenshaw on Conan 
O'Brien's show) closed out the evening on Saturday with a 
beer-drenched, Phil Alvin teeth-clenched set that was every bit as 
good as early-80's Slash-era Blasters -- with a newer, younger line-up 
(the only original band member besides Phil was John Bazz on bass).  
The festival crowd was most receptive as Sunset Blvd.  became a de 
facto rockabilly dance floor -- see, we can all get along.

--David Gershwin


From: "Cindy Frantz <74473.2773@compuserve.com>" 

In all its splendor and glory, Frantzine issue #4 is now out.  This 
issue contains interviews with TFUL282, Crayon, Pavement's Stephen 
Malkmus, Sebadoh's newest wunderkid Bob Fay, Palace Brother's 
Salt-n-Pepa lovin' Will Oldham, Soul-Junk, and the one-and-only from 
the Inland Empire DiskothiQ tour diary.  This gem is available for 
$3ppd and can be had by writing:

HCR1 Box 185K
Leeds, NY  12451


From: Sean Murphy <grumpy@access.digex.net>

As a frequent contributor to the zine, I'm posting this ad for 

Grumpy Sean


OUT SEPTEMBER 1: _Caught In Flux_ #3.  Subtitled "How I Discovered 
Music," it's a collection of stories and interviews exploring the 
roots of music fandom.  Among the 30-plus participants are the 
Raincoats, Barbara Manning, Stuart Moxham, Lois Maffeo, David Nichols, 
Mark Eitzel, Jenny & Kristin from Tsunami/Simple Machines, Stephin & 
Claudia of Magnetic Fields, and various editors, writers, musicians 
and anonymous fans.  $2.50 postpaid in the U.S., $3.50 elsewhere.  
Checks/money orders payable to Mike Appelstein.  Write to P.O.  Box 
7088, New York, N.Y.  10116-7088.  (Sorry, no e-mail address: I have 
e-mail through work and don't want my employer to catch on...) Back 
issues of CIF and _Writers Block_ available as well.  over and out.


From: madnbut@vt.edu (Mad and Butch)
AD: Squealer Music

 Squealer Music has 7" singles from Geezer Lake, Bicycle 
Face, Milk Badger, Joe the Fireman and Baby Igor, with great new stuff 
on the way from Chapel Hill NC's June, Refrigerator (hopefully), Rake, 
the Mind Sirens and others.  Write for a catalog: PO Box 229 
Blacksburg, VA 24063-0229, or email at madnbut@vt.edu



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